Search form

Main menu

You are here

Lighting

Arri’s has increased the brightness in its top-of-the line LED fixture, the L7-C. Advancements in LED technology have allowed the L7-C to be updated with a new light engine – Light Engine 2 – making it more than 25 percent brighter than previous versions.

For his graduation film, cinematography student Sverre Sørdal, who is training at the National Film and Television School in Beaconsfield, U.K., did not take the easy road. Instead, he shot a film about rally racing on a track in the middle of the forest with a very tight shooting schedule and very unpredictable lighting

The SIM Group has promoted Eleanor O’Connor to the newly created post of president, PS Lighting & Grip Division. She will manage all lighting and grip operations for all SIM locations, which include offices in Vancouver, Toronto, Halifax, Los Angeles, Atlanta and Beijing.

Every production relies heavily on its support equipment. The camera crew behind the hit FX TV series The Americans, which just ended its second season, understands this very well. The show’s cinematographer Richard Rutkowski, and camera assistants Brendan K. Russell and Rory Hanrahan, rely on Anton/Bauer batteries and chargers, Litepanels LED lights, and OConnor fluid heads and tripods for their reliability and durability during stage and location shoots, which helps keep the show on pace and on budget.

Cameraman Maxim Ford has designed a new LED soft light for digital movie making and photography, designed by a cameraman for camera operators and calls it Softy Lite who said "With the explosion of low budget dramas using new digital movie cameras like the Canon D5 and Sony F3 I wanted to make an affordable light that would have the potential for great drama lighting.”

Some of the world’s leading manufacturers of camera systems, lenses, lighting equipment, workflow technology and other film and television production gear will be on hand when Sim Digital, PS Production Services and Bling Digital, hosts the Sim Technology Showcase on January 30 at Sim’s Toronto headquarters.

The industry doesn’t do as many pilots as in years past, which is a shame, because they can be a valuable format for testing not just story ideas and actors but new technology. In my role covering new cinema technology for the Digital Cinema Society I am often offered gear to test and evaluate, everything from new lighting units and cameras to various digital cinema recorders. Since I need to keep busy earning my living as a director of photography, I honestly don’t have time to run scientific tests, so I prefer instead to use the gear in real world productions I’m hired to work on. You could call me a technology test pilot. I get a better sense of how these tools perform where the rubber hits the road, and it’s a good way to help out the productions I’m working on, pulling in items they might not otherwise be able to afford. The perfect opportunity to put many of these items through their paces came up recently when I was asked to shoot a feature length pilot for a new action/adventure show aimed at young adults entitled, Tribe of the Wild.